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OBOE
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Passings (LIEBMAN DAVID)
Advance Music
Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAV...
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Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAVID. It is natural as we age to contemplate the finality of passing on, if not personally, then certainly as an effect from others around you whom have left this space. Having to endure the passing of family and friends is of course very trying. This is especially true when the perception is that someone 'passed before their time” though there are those of us who believe in fate implying that the Force works in its own mysterious way. In some ways I can subscribe to that concept, but for me when someone passes early, say in their fifth or sixth decade of life, it is 'before their time.” Composers often commemorate passings with music as a means to mourn and as well to celebrate the life of an individual who meant something to them. Such is the nature of this piece. Movement 1 - Past uses as source material themes I wrote for my mother Frances and father Leo when they passed - movement 2 - Present centers around a choral ('Prayer for Mike”) I wrote for my dear friend, saxophonist Michael Brecker when he passed a few years ago. This same period also saw the passing of other friends and associates whom I had known for years, all way too premature, beginning with JF Jenny Clarke and Bob Berg, Hans Gruber, Thomas Stowsand, David Baker, James Williams, Dennis Irwin, John Stubblefield. The final movement - Future is a requiem of sorts for all of us still here. With its improvisational character, it is meant to suggest the positive implications of living life to its fullest./ Recueil / Hautbois, Saxophone Soprano, Alto et Violoncelle
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Nekyia (SCHNEIDER ENJOTT)
Hautbois ou Cor Anglais Ad Libitum et Orgue
[Sheet music]
Schott
Par SCHNEIDER ENJOTT. 'Nekyia ' est l'un des principes fondamentaux du monde dan...
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Par SCHNEIDER ENJOTT. 'Nekyia ' est l'un des principes fondamentaux du monde dans la mythologie de l'Antiquité : chaque s'efforçant après que des valeurs plus élevées, chaque spiritualisation et chaque tentative de perfection présuppose le passage par Hadès. Chaque montagne est juxtaposée par le fond d'une vallée. A la lumière de son existence aussi besoin obscurité, ciel enfer. ' Nekyia ' est l'archétype de toutes les religions. Orpheaus devait descendre dans l'Hadès afin de gagner la vie pour Euridice. Christ devait mourir pour témoigner de la vie éternelle. D'où la composition ' Nekyia ' consiste en trois parties qui doivent être distingués en forme et d'expression : partie 1 avec ses rythmes animés symbolise la physique, la partie matérielle et laïque, 2 (bb 71-154) symbolise la rencontre avec la mort, la partie 3 ('Lux Perpetua') se réfère à un état de douceurs dans lequel la vie et la mort sont équilibrés et intégrés./ Répertoire / Hautbois ou Cor Anglais Ad Libitum et Orgue
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Per Nørgård: Whirl's World: Wind Ensemble: Score
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
[Sheet music]
Wilhelm Hansen
Programme Note WHIRLS´ WORLD (1970) for wind quintet. ?Whirl´s World? was comp...
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Programme Note WHIRLS´ WORLD (1970) for wind quintet. ?Whirl´s World? was composed in 1970 as one of a series of works which explored the so-called musical ´difference-phenomenon´. This term (which I coined in connection with a series of lectures in California that year) indicates a motivic duplicity in which two - often very simple - melodic ideas come ´out of phrase´ with each other giving rise to a course of constantly changing conditions. In Whirl´s World the difference phenomenon is heard from the beginning where a three-note motif and a four-note motif are set against each other. It all proceeds lake a lightning-fast series of chess moves; first notenumber 1 of the three-note motif is moved then note number 1 of the four-note motif thereafter note number 2 of the three-note motif - and so on. This fast opening flows into a slow section in which the differences now appear as ´fluctuations´ between very closely related tones (of which one is sung by the musician). There is only one movement built up as an organic growth from slow to furiously fast whirling and back again to slow which can be heard as ´slow-motion whirls´ as a water-world of ripples and bubbles. All this is framed by the introduction described above and a corresponding conclusion in which the movement is now descending ending in the resolute bass full-stop. Per Norgård
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Per Nørgård: Whirl's World: Wind Ensemble: Parts
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
[Sheet music]
Wilhelm Hansen
Programme Note WHIRLS´ WORLD (1970) for wind quintet. 'Whirl´s World' was ...
(+)
Programme Note WHIRLS´ WORLD (1970) for wind quintet. 'Whirl´s World' was composed in 1970 as one of a series of works which explored the so-called musical ´difference-phenomenon´. This term (which I coined in connection with a series of lectures in California that year) indicates a motivic duplicity in which two - often very simple - melodic ideas come ´out of phrase´ with each other giving rise to a course of constantly changing conditions. In Whirl´s World the difference phenomenon is heard from the beginning where a three-note motif and a four-note motif are set against each other. It all proceeds lake a lightning-fast series of chess moves; first notenumber 1 of the three-note motif is moved then note number 1 of the four-note motif thereafter note number 2 of the three-note motif - and so on. This fast opening flows into a slow section in which the differences now appear as ´fluctuations´ between very closely related tones (of which one is sung by the musician). There is only one movement built up as an organic growth from slow to furiously fast whirling and back again to slow which can be heard as ´slow-motion whirls´ as a water-world of ripples and bubbles. All this is framed by the introduction described above and a corresponding conclusion in which the movement is now descending ending in the resolute bass full-stop. Per Norgård
49.99 GBP - Sold by Musicroom UK
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